My grandfather and my mother on their Harley Davidson motorcycle from World War II.

Liqen was born in 1980, in Vigo, a port and industrial city of Galicia, in Spain. From a very young age and together with his brother he begins to stand out in an innate way in the drawing, in the handling of the proportions, which will be polished thanks to the fixation and observation of the reality that moves around him.

A strange gift for proportions and his early passion for nature, for the future of man, the diversity of species (particularly insects), give him an amazing capacity for cosmogonic creation, for inventiveness, for fantastic and delusional formation of the world and matter.

All this takes him to the point of adopting Liqen, the name of a pseudovegetal, like his metanname, starting an extraterrestrial adventure through his own disturbance, under which he signs his pieces and deciphers his symbiotic and multipolar character (scientifically the mixture of two reciprocal species, the algae and the fungus), as a novelty in evolution that separates from its ancestors and is able to adapt to adverse weather conditions. The reading of the book “The Threat” by Pierre Gascar, which fascinated him in part by his nomadic tendency, was a key to this, a book that gathers the impressions of a French realist (the same writer) on a journey through certain regions of the world, where it makes curious relations between the traditions of some peoples with the lichens.

“The lichen possesses a certain fetal character. They reactivate the creations of the unconscious, the dark thought, the ghosts, and sliding easily out of their reality often force us to prove their existence.”

In his blood it was written that his path would be art and he finds on paper, and later on the walls of the streets, the best means to express himself and share his mysterious illusionism, dimensioning his work, sharing, regenerating space with energy.


For Liqen the existence, the condition, and the human life, seem to be a mystery, where there is no concrete definition, where the forms are infinite and changing, faithful believer of the “amorphous matter”, for him, art, formerly magic, keeps alive the flame of that mystery; perceiving, directing and transforming it into the blood of his blood, his children, as a matter of an endless ultragenetic cycle… warning himself to take great care of the symbols and their esotericism; what is expressed can become about man… something like what Jorge Frazer said about homeopathic or sympathetic magic: “the similar creates the similar.”

Art allows us to approach, perhaps, a clearer idea of ​​who we are or we think we are (even reaching more accurate concepts than science itself, because it does not need the spill of the red liquid), an illusion that walks towards magic, which faces its own human condition in favor of the determining and critical state that the world and the earth currently suffer, from which each and every one is involved, from which Liqen removes the homeopathic juice, making an unattended measurement, simply for the sole purpose of sharing its cascade of ideas, of a kind without any form.

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